About the love bicoloon Dear Esther – Amnesia: A Machine for Pigs

Outlast. Amnesia: a Machine for Pigs. It just so happened that the fate of two projects that were not related to each other, like the rams met on the same bridge, collided at the end point of the process of their creation and had to enter into an irreconcilable scammers in order to find out who the corridors are darker and the monsters of pigs.Of course, it is unlawful to compare the radish with dill, but both projects were positioned as representatives of one genre of Survival-Horror, due to which the mass of the net and gross bricks supplied to users were as predictable as April after May after May.

Finally, the long-awaited duel happened, amnesia is lying in a lifeless knockout, and Outlast, triumphantly, drinks Madame Kliko and shows a festive cake. The amnesical gameplay turned out to be a trimmed version of the original project: neither ending resources, nor “insured”, nor a hide and seek with monsters, which are less for the whole game than the fingers of Orangutan. Fans disappointedly allow a bitter tear, and the rest in a festive frenzy dance a rumba on the roofs of yellow houses.

However, in their censors, no one is aware of the innermost sense of one small detail, although everyone is perfectly aware of it: the game created the notorious Chinese Room, behind which there is only one very ambiguous work – Dear Esther.

You do not need to be https://nonukcasinosites.co.uk/high-roller-casino-bonus/ a Chinese to enter the “Chinese room” famous in philosophical circles. The great mental experiment, done in the neural labyrinths of John Serel, showed that cars do not think and could not think. People think, and algorithms work in Chinese rooms. And it doesn’t matter who sets them: ask the room to form a message, and she will do it according to her own spontaneously arising laws, presenting the canvas of torn meanings, fastened not determinically, but a set of intuitive mystical insights. This message will carry little information, being an absolute aesthetic phenomenon. Philosophical claims of the developers, discovered already in the name of the studio, find their Esnestable expression in the approach to creating a video game.

Was it worth expecting from developers with obvious overwhelming intellectual ambitions of a healthy banal continuation of amnesia? It is unlikely. Nevertheless, both amnesia and outlast are not at all niche, using the standard methods of flirting with the masses. The pride of an original conceptual artist will never allow him to follow the beaten paths.

Dear Esther and A Machine for Pigs are similar like two drops. The absent presence of gameplay, literary narrative, chaotic narration. Both of them come to the forefront of the main character with a certain place, the status of which is the main mystery of the game.
The space communicating with the hero simultaneously “broadcasts” from two positions: objective, existing outside the observer, but is the fruit and material result of his leaked spiritual life;the immanent of the consciousness constituting its structural backbone and determining the ways of its functioning.

The roll call between the two levels is carried out using metaphors and a “mixed” discourse, uniting a statement about space as a “constructing” machine within the same syntactic unit, and “designed”. Hence – the whole metaphor and poetics of monologues of the games Chinese Room. Note that both projects are built on this principle, and the topic ultimately has one. The hero of Dear Esther is sick is the island, which simultaneously acts as a disease and a condition for liberation, a transitional stage, spiritual purge by a gero. The same with the machine that acts an ugly embodiment of the painful consciousness of the hero.

It is interesting here that, although, Machine for Pigs gives more grounds for a realistic interpretation, the developers involuntarily slide into a “double discourse” style, about which I said. This is especially evident at the end of the game, when the steampunk design is gradually eroding surrealist motifs. The Chinese room continues to generate “empty” messages, to synthesize the whole content of which can only be in a methanarratic jump. At the same time, the content crystallizing in the Machine for Pigs metaphor is much more extensive than the subjective-desisted Dear Esther. From the point of view of the problematic space, all of humanity acts here, in a temporary layer the game is a preface to the entire twentieth century, which was not recognized by Nietzsche’s philosophy, blinded and lost in the mine of the casual rationality.

Yes, here the atmosphere is significantly different, but the feeling that you play Dear Esther 2, and not in Amnesia, does not leave for a second: the same contemplative gameplay, there is also high -part music, even the voice acting of the protagonist performed, as it seemed to me, one person.Everything is found in an amazing author’s handwriting of developers. And this is an amazing unique Chinese Room style, which, remember, you will not meet in any game anymore, and not in any literary work. The new Amnesia is beautiful in its own way-not as a continuation of the first part and, of course, not as a competitor from Outlast.

Yes, Chinese Room brazenly and unceremoniously invaded someone else’s property, turning the Amnesia brand beloved by many into a training ground for their own experiments.For this, they deserve to be cursed and expelled from this world until the time of Half-Life 3. But I don’t want to do this at all: this is just the case when Stockholm syndrome is not a clinical case.